Елена Андреева - Ориенталистские мотивы в творчестве Генри Райдера Хаггарда

К теме Востока также обращался П.Б. Шелли (1792-1822). Но в отличие от Т. Мура, в его творчестве восточные образы играют более декоративную и эпизодическую роль. В поэме «Аластор» (1815) герой, не найдя химерического счастья, погибает где-то в Кавказских горах. В этом произведении реальность и сон переплетены так тесно, что образы Востока, проступающие сквозь канву поэмы то в виде танцующей эротические танцы девушки, то в виде покинутой арабской возлюбленной, кажутся нереальными. Полностью служебную функцию выполняет Восток в другой поэме – «Восстание Ислама, революция в Золотом городе, или Видение XIX столетия» (1818). Главная тема поэмы – осмысление освободительной борьбы народов Европы, переданной с помощью восточной декоративности. Наиболее «восточным», пожалуй, представляется стихотворение Шелли «К Нилу» (1818). Поэт рисует реку от истоков до устья, но в последних двух стихах раскрывается, что образ Нила нужен ему как аллегория Мудрости.

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Oriental studies is а composite area of scholarship comprising philology, linguistics, ethnography, and the interpretation of culture through the discovery, recovery, compilation, and translation of Oriental texts.

Anyone who teaches, writes about, or researches the Orient – and this applies whether the person is an anthropologist, sociologist, historian, or philologist – either in its specific or its general aspects, is an Orientalist, and what he or she does is Orientalism.

Orientalism is а movement which influenced the world of the 19th century, first in the field of science and scholarship and then literature, theatre, music, architecture, and the fine arts.

…until the mid-eighteenth century Orientalists were Biblical scholars, students of the Semitic languages, Islamic specialists, or, because the Jesuits had opened up the new study of China, Sinologists.

This interest in the Orient was stimulated by political and commercial interests, by scientific and archeological expeditions, by the increasing number of European visitors making their way to the Orient <���…> and by the growth of Romanticism in literature and painting.

The Orient is <���…> one of its deepest and most recurring images of the Other.

Orientals or Arabs are thereafter shown to be gullible, “devoid of energy and initiative”, much given to “fulsome flattery”, intrigue, cunning, and unkindness to animals <���…> Orientals are inveterate liars, they are “lethargic and suspicious”, and in everything oppose the clarity, directness, and nobility of the Anglo-Saxon race.

For European Romanticism <���…> the Orient appeared as a place of refuge and sanctuary. It was pre-industrial, its cultural values appeared to be simpler and closer to nature.

The European imagination was nourished extensively from this repertoire: between the Middle Ages and eighteenth century such major authors as Ariosto, Milton, Marlowe, Tasso, Shakespeare, Cervantes, and the authors of the Chanson de Roland and the Poema del Cid drew on the Orient‟s riches for their productions <���…>

A large colonial bureaucracy occupied itself, especially from the 1860s, with classifying people and their attributes, with censuses, surreys, and ethnographies, with recording transactions, marking space, establishing routines, and standardizing practices.

das letzte unbesetzte Fleckchen Afrikas.

As an ideology, moreover, imperialism bundles together different elements that more or less cohere, though these elements may also appear separately or in varying combinations, and with varying degrees of intensity. Advocacy of territorial expansion by military force is one such element, no doubt the most obvious <���…>. The other elements of imperialist ideology include, first and foremost, a chauvinism based on loyalty to the existing Empire, both to the ruling nation and to its colonies.

…the racial superiority of white Europeans (and of the English over all other Europeans).

…the “civilizing mission” of Britain, greatest nation in history.

“Savages” who did not “develop” the land and its resources were often viewed as having no right of possession, and the task of “civilizing” them <���…> was defined in terms of their conversion both to Christianity and to “productive labour” or “industry”.

The Indian Mutiny and the Jamaica Rebellion proved to many Victorians that the “dark races” were destined to remain forever dark until they perished from the face of the earth.

Imperialism may not have had a name before1870, but though nameless it did more than provide mere background in the writing of the early and mid-Victorians.

There are reasons for dating the British empire‟s rise at the end of the seventieth century, in fact at the Union of England with Scotland, in 1707; which is to say, at the very historical moment when the adventure tale began to be written, since Robinson Crusoe appeared in 1719. Defoe was one of the English government‟s agents in negotiating that union. And Defoe, rather than Shakespeare, is my candidate for the prototype of literary imperialism.

One could speak in Europe of an Oriental personality, an Oriental atmosphere, an Oriental tale, Oriental despotism, or an Oriental mode of production, and be understood.